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Offshore

Published Thursday 25 September 2008 at 13:00 by Gareth Vile

Referencing the credit crunch and grappling with the economic hardships of rural Scotland, Offshore balances gritty realism and sardonic farce, as sinister outsiders are challenged by the surprising ethical flexibility of three locals.

Although the script is well-paced and the central moral dilemma presented in clear, dramatic debates, Offshore doesn’t quite convince. The plot forces inconsistent characterisation, and the intention to explore changing times and environment is undeveloped.

Hazel Blue’s nifty set, which doubles as boat and general store, fixes the action in a narrow strip of the stage. As washed up alcoholic Kath, Linda McLaughlin has a weary yet determined aplomb - her daughter Kerry, played with a sincere cheerfulness by Danielle Stewart, is naive and serious, a fine foil to her mother and the cynical incomer Frida (Karina Jones).

Along with Nick Field’s amiable Sid, these performances hold together a drama that is more concerned with narrative twists than nuance. The incomers are pantomime villains, announcing their nefarious plans with an unguarded honesty. Morven Gregor’s direction hides the melodrama by pushing the scenes along at a steady clip, but it seems unlikely that international drug dealers would readily reveal their schemes, even if it does create easy conflict for the quick-fire dialogue.

Offshore is undemanding and fun. It is well-acted, clearly directed with a script that sacrifices depth for surprise. It does avoid trite social commentary, and suggests that financial hardship can warp anybody’s moral sensibilities, but doesn’t shock or challenge any theatrical or intellectual preconceptions.

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